This chapter summarizes the goals, idealizations, and rule system of the predecessor volume, A Generative Theory of Tonal Music, whose overall goal is to model and explain the musical intuitions of ...
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This chapter summarizes the goals, idealizations, and rule system of the predecessor volume, A Generative Theory of Tonal Music, whose overall goal is to model and explain the musical intuitions of an experienced listener. The theory assumes the musical surface and idealizes to final-state listening. Features of well-formedness and preference rules are reviewed. The components of grouping structure, metrical structure, time-span segmentation, time-span reduction, and prolongational reduction are presented through an analysis of a Bach chorale. Particular attention is paid to the derivation of prolongational structure. On this foundation, ideas within the framework of the prolongational theory are advanced, including prolongational good form, the strict-branching constraint, polyphonic groupings, and abstractions and transformations of underlying events.Less

Theoretical Foundations

Fred Lerdahl

Published in print: 2005-01-06

This chapter summarizes the goals, idealizations, and rule system of the predecessor volume, A Generative Theory of Tonal Music, whose overall goal is to model and explain the musical intuitions of an experienced listener. The theory assumes the musical surface and idealizes to final-state listening. Features of well-formedness and preference rules are reviewed. The components of grouping structure, metrical structure, time-span segmentation, time-span reduction, and prolongational reduction are presented through an analysis of a Bach chorale. Particular attention is paid to the derivation of prolongational structure. On this foundation, ideas within the framework of the prolongational theory are advanced, including prolongational good form, the strict-branching constraint, polyphonic groupings, and abstractions and transformations of underlying events.

This chapter makes additional comments on the discussion in Chapter 2. The theory of metrification presented by Fabb and Halle (F&H) seems to be flawed in a number of respects. At the root of the ...
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This chapter makes additional comments on the discussion in Chapter 2. The theory of metrification presented by Fabb and Halle (F&H) seems to be flawed in a number of respects. At the root of the problem is F&H's assumption that metrical structure is projected from the surface syllables of a linguistic text. It is argued that an alternative view not discussed by F&H is superior. This view — shared in its essentials by Kiparsky (1991), Lerdahl (2001), Hanson (2006), J. Halle (2008), and Deo (2007) among others — holds that metrification proceeds via the mapping of linguistic structures onto a pre-determined metrical template. It is shown that this view leads to more natural accounts of many of the relevant phenomena, especially with regard to mismatches between text and metrical structure, such as catalexis, anacrusis, anceps, and syncopation. This alternative has the advantage of allowing for poetic and musical metre and performance to be accounted for with a unified set of straightforward mechanisms. It is argued, contra the fourth section of F&H, that this is a desirable and feasible move.Less

Metre is music: a reply to Fabb and Halle

Bert VauxNeil Myler

Published in print: 2011-10-01

This chapter makes additional comments on the discussion in Chapter 2. The theory of metrification presented by Fabb and Halle (F&H) seems to be flawed in a number of respects. At the root of the problem is F&H's assumption that metrical structure is projected from the surface syllables of a linguistic text. It is argued that an alternative view not discussed by F&H is superior. This view — shared in its essentials by Kiparsky (1991), Lerdahl (2001), Hanson (2006), J. Halle (2008), and Deo (2007) among others — holds that metrification proceeds via the mapping of linguistic structures onto a pre-determined metrical template. It is shown that this view leads to more natural accounts of many of the relevant phenomena, especially with regard to mismatches between text and metrical structure, such as catalexis, anacrusis, anceps, and syncopation. This alternative has the advantage of allowing for poetic and musical metre and performance to be accounted for with a unified set of straightforward mechanisms. It is argued, contra the fourth section of F&H, that this is a desirable and feasible move.

Prosodic structure features prominently in work on metrical stress, in intonational phonology and prosodic phonology (where it provides the domain for segmental and supra-segmental processes), but ...
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Prosodic structure features prominently in work on metrical stress, in intonational phonology and prosodic phonology (where it provides the domain for segmental and supra-segmental processes), but specifics vary widely in the literature. Following Truckenbrodt, a simple version of the prosodic hierarchy, using phonological phrases, intermediate phrases, and intonational phrases above the word level is used, related to syntax by a small set of ranked, violable constraints; a prosodic constituent’s metrically strongest element, its head, may serve as an anchoring point for pitch accents, subject to a single ‘stress-to-accent’ constraint. Sometimes a more articulated structure is called for, involving a limited kind of recursion in prosodic categories, or perhaps even label-less recursion of a single unspecific category. The rules of syntax-to-prosody mapping actually predict when these more complex structures arise. Generalizations introduced earlier—integration, nuclear accent placement, optional accenting—find their proper place in this prosodically more elaborate setting.Less

Prosodic structure

Daniel Büring

Published in print: 2016-07-28

Prosodic structure features prominently in work on metrical stress, in intonational phonology and prosodic phonology (where it provides the domain for segmental and supra-segmental processes), but specifics vary widely in the literature. Following Truckenbrodt, a simple version of the prosodic hierarchy, using phonological phrases, intermediate phrases, and intonational phrases above the word level is used, related to syntax by a small set of ranked, violable constraints; a prosodic constituent’s metrically strongest element, its head, may serve as an anchoring point for pitch accents, subject to a single ‘stress-to-accent’ constraint. Sometimes a more articulated structure is called for, involving a limited kind of recursion in prosodic categories, or perhaps even label-less recursion of a single unspecific category. The rules of syntax-to-prosody mapping actually predict when these more complex structures arise. Generalizations introduced earlier—integration, nuclear accent placement, optional accenting—find their proper place in this prosodically more elaborate setting.

A Linear Structure can be enhanced with an affine (straight line) substructure, which in turn can be invested with a metric. This chapter discusses how to define metrical structure, using the notion ...
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A Linear Structure can be enhanced with an affine (straight line) substructure, which in turn can be invested with a metric. This chapter discusses how to define metrical structure, using the notion of an anthyphairetic ratio between lines. Metrics can be of different strengths, reflecting the classes of straight lines whose lengths can be compared. Methods for defining the length of curved lines are considered.Less

Metrical Structure

Tim Maudlin

Published in print: 2014-03-06

A Linear Structure can be enhanced with an affine (straight line) substructure, which in turn can be invested with a metric. This chapter discusses how to define metrical structure, using the notion of an anthyphairetic ratio between lines. Metrics can be of different strengths, reflecting the classes of straight lines whose lengths can be compared. Methods for defining the length of curved lines are considered.

It is particularly significant to examine the intonational systems of typologically diverse languages in light of renewed interest in ‘intonational universals’. As yet, only a handful of indigenous ...
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It is particularly significant to examine the intonational systems of typologically diverse languages in light of renewed interest in ‘intonational universals’. As yet, only a handful of indigenous Australian languages possess significant intonational descriptions. This chapter examines the intonational phonology of six closely-related varieties of a Northern Australian language, Bininj Gun-wok, also known as Mayali. It then outlines transcription conventions that are designed to transcribe significant prosodic events in this language and its various dialects.Less

Intonation in Six Dialects of Bininj Gun-wok

Judith BishopJanet Fletcher

Published in print: 2005-01-27

It is particularly significant to examine the intonational systems of typologically diverse languages in light of renewed interest in ‘intonational universals’. As yet, only a handful of indigenous Australian languages possess significant intonational descriptions. This chapter examines the intonational phonology of six closely-related varieties of a Northern Australian language, Bininj Gun-wok, also known as Mayali. It then outlines transcription conventions that are designed to transcribe significant prosodic events in this language and its various dialects.

The essays in this volume address foundational questions in phonology that cut across different schools of thought within the discipline. The theme of modularity runs through them all, however, and ...
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The essays in this volume address foundational questions in phonology that cut across different schools of thought within the discipline. The theme of modularity runs through them all, however, and these essays demonstrate the benefits of the modular approach to phonology, either investigating interactions among distinct modules or developing specific aspects of representation within a particular module. Although the contributors take divergent views on a range of issues, they agree on the importance of representations and questions of modularity in phonology. Their essays address the status of phonological features, syllable theory, metrical structure, the architecture of the phonological component, and interaction among components of phonology. In the early 1990s the rise of Optimality Theory—which suggested that pure computation would solve the problems of representations and modularity—eclipsed the centrality of these issues for phonology. This book offers a coherent view of phonology that is not based on Optimality Theory. The chapters demonstrate that computation and representation are inherently linked; they do not deny Optimality Theory, but attempt to move the field of phonology beyond it.Less

Contemporary Views on Architecture and Representations in Phonology

Published in print: 2009-03-20

The essays in this volume address foundational questions in phonology that cut across different schools of thought within the discipline. The theme of modularity runs through them all, however, and these essays demonstrate the benefits of the modular approach to phonology, either investigating interactions among distinct modules or developing specific aspects of representation within a particular module. Although the contributors take divergent views on a range of issues, they agree on the importance of representations and questions of modularity in phonology. Their essays address the status of phonological features, syllable theory, metrical structure, the architecture of the phonological component, and interaction among components of phonology. In the early 1990s the rise of Optimality Theory—which suggested that pure computation would solve the problems of representations and modularity—eclipsed the centrality of these issues for phonology. This book offers a coherent view of phonology that is not based on Optimality Theory. The chapters demonstrate that computation and representation are inherently linked; they do not deny Optimality Theory, but attempt to move the field of phonology beyond it.

In terms of metrical structure, Tiberian Hebrew has long been problematic due to its apparent lack of metrical coherence. The simplified bracketed grid theory offers a more elegant alternative to ...
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In terms of metrical structure, Tiberian Hebrew has long been problematic due to its apparent lack of metrical coherence. The simplified bracketed grid theory offers a more elegant alternative to previous approaches for analyzing the metrical structure of Tiberian Hebrew. This chapter examines stress assignment in Tiberian Hebrew and argues that the evidence previously considered to be supporting inconsistent metrical constituents does not actually require the construction of entire constituents, and that the same evidence can be taken into account by the construction of more minimal single brackets. It shows how the assignment of aspects of metrical structure interacts with phonological processes to create surface opacity. The chapter also discusses the Main Stress Rule, pretonic lengthening, pausal stress, and stress retraction.Less

Stress Assignment in Tiberian Hebrew

B. Elan Dresher

Published in print: 2009-03-20

In terms of metrical structure, Tiberian Hebrew has long been problematic due to its apparent lack of metrical coherence. The simplified bracketed grid theory offers a more elegant alternative to previous approaches for analyzing the metrical structure of Tiberian Hebrew. This chapter examines stress assignment in Tiberian Hebrew and argues that the evidence previously considered to be supporting inconsistent metrical constituents does not actually require the construction of entire constituents, and that the same evidence can be taken into account by the construction of more minimal single brackets. It shows how the assignment of aspects of metrical structure interacts with phonological processes to create surface opacity. The chapter also discusses the Main Stress Rule, pretonic lengthening, pausal stress, and stress retraction.

This book explores foundational questions in phonology, such as the sorts of phenomena that comprise the explananda of the field, how phonological objects should be represented, or the optimal ...
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This book explores foundational questions in phonology, such as the sorts of phenomena that comprise the explananda of the field, how phonological objects should be represented, or the optimal architecture for phonological theory. It examines computation and representation, the distinction between phonetics and phonology, modularity within phonology, and modularity producing emergent phenomena. It looks at core aspects of phonology and interactions within and among modules, the status of phonological features, and contemporary theories of syllabification in phonology. It also discusses metrical structure, the overall architecture of the phonological component, and various sorts of interaction among components of phonology.Less

Architecture and Representations in Phonology

Charles E. CairnsEric Raimy

Published in print: 2009-03-20

This book explores foundational questions in phonology, such as the sorts of phenomena that comprise the explananda of the field, how phonological objects should be represented, or the optimal architecture for phonological theory. It examines computation and representation, the distinction between phonetics and phonology, modularity within phonology, and modularity producing emergent phenomena. It looks at core aspects of phonology and interactions within and among modules, the status of phonological features, and contemporary theories of syllabification in phonology. It also discusses metrical structure, the overall architecture of the phonological component, and various sorts of interaction among components of phonology.

This chapter discusses Michael Drayton who made explicit references to numerological symbols and proportionally governed poetic form. An admirer of Philip Sidney, Drayton from the span of his career ...
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This chapter discusses Michael Drayton who made explicit references to numerological symbols and proportionally governed poetic form. An admirer of Philip Sidney, Drayton from the span of his career in 1593 to 1621 published homages to Sidney. Furthermore, he frequently employed Sidney's characteristic metrical structure and numerically governed proportions. In his Ideas Mirrour, Drayton employed Sidney's generic patterns and proportionally-governed form. His other writings also sought to emulate the elements of Sidney's layered formal arrangements however in a simplified manner. However lacking the formal sophistication that can be discernable from the poem of the highly educated Sidney, Draytons's unstressed and simple use of proportional numbers derived from Astrophil and Stella were Drayton's personal tribute to and emulation of his poetic hero.Less

Michael Drayton and Proportional Form: Idea and Other Poems

Tom W. N. Parker

Published in print: 1998-02-12

This chapter discusses Michael Drayton who made explicit references to numerological symbols and proportionally governed poetic form. An admirer of Philip Sidney, Drayton from the span of his career in 1593 to 1621 published homages to Sidney. Furthermore, he frequently employed Sidney's characteristic metrical structure and numerically governed proportions. In his Ideas Mirrour, Drayton employed Sidney's generic patterns and proportionally-governed form. His other writings also sought to emulate the elements of Sidney's layered formal arrangements however in a simplified manner. However lacking the formal sophistication that can be discernable from the poem of the highly educated Sidney, Draytons's unstressed and simple use of proportional numbers derived from Astrophil and Stella were Drayton's personal tribute to and emulation of his poetic hero.